The National Printing House, Athens

FEK + Art

Rena Papaspyrou, Autophotocopies (1980-1981), installation detail

Commemorating 190 years of operation, the National Printing House of Athens is currently playing host to a contemporary art show opening its doors to artists and the general public. Review by Dr Kostas Prapoglou

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The Vaults Gallery, Leake Street, London SE1 7NN

Chloe Rosser: Forms

Form 4, 5

The images are immediately unsettling because, of course, the human body can't be alive without a head: a brain, a central nervous system. But these bodies clearly are alive. Beverley Knowles reviews

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kaufmann repetto, Via Di Porta Tenaglia 7 20121, Milan

Judith Hopf: ! Hear Rings !

! Hear Rings !, Installation View

For her third solo show at kaufmann repetto, Judith Hopf presents a new body of work including sculptures, installations and a four-minute video animation.

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von Bartha, Kannenfeldplatz 6, 4056, Basel, Switzerland

Sitting on a Branch

Sitting on a Branch, Installation View

For his new exhibition at von Bartha, multimedia artist Boris Rebetez has invited six artists to join him in exploring ideas of space, environment and architecture.

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Cooper Gallery, Duncan of Jordanstone College of Art & Design, 13 Perth Road, Dundee, DD1 4HT


Installation view from ALL SYSTEMS…go. Left: Liam Gillick & Anton Vidokle, A Guiding Light, 2010. Right: Miranda Pennell, Tattoo, 2001

‘ALL SYSTEMS...go’ journeys through ideas of the individual as an agent of free will, in conflict, apart or in harmony with the group or collective. Review by Alexander Hetherington

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SPACE, Mare Street, London

Jeremy Hutchison: work the meat, pleasure the dessert

Jeremy Hutchison: work the meat, pleasure the dessert

SPACE Art + Technology presented a new work by This Time With FEEling artist in residence Jeremy Hutchison. For this work, Hutchison presented a new outsourcing model for the affective economy. Meat is a 3D body-scan, a simulation of the artist’s anatomy.

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Vane, First Floor Commercial Union House, 39 Pilgrim Street, Newcastle Upon Tyne NE1 6QE

Jock Mooney: Who Are You and What Do You Want

Jock Mooney, ‘Who Are You and What Do You Want?’, 2016, installation view

Mooney has confidently matured in his abilities to perform the role of adolescent artist, having his cake and eating it with two fingers up and no concern to start producing ‘adult’ art, all the while remaining cerebral, provocative and daring. Review by Peter-Ashley Jackson

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MoMA, 11 W 53rd St, New York, NY 10019

Walid Raad

Installation view of Walid Raad, The Museum of Modern Art, October 12, 2015-January 31, 2016

Widely noted, the role of fiction in Walid Raad’s practice takes a lead throughout his mid-career retrospective at MoMA. Review by Gemma Sharpe

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Vilma Gold, 6 Minerva St, London E2 9EH

Julia Wachtel

Installation view, Vilma Gold, London

Cassie Davies reviews Julia Wachtel's exhibition of politicised screen prints and paintings derived from popular culture.

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Green Art Gallery, Al Quoz 1, Street 8, Alserkal avenue, Unit 28 PO. Box 25711 Dubai, UAE


1497, Installation View

In group exhibition '1497' images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.

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Valentin, 9 rue Saint-Gilles, 75003, Paris

George Henry Longly: The Smile of a Snake

The Smile of a Snake, Installation View

George Henry Longly’s new exhibition at Valentin, 'The Smile of a Snake', takes its name from a language tutorial emphasising the pronunciation of the letter “s”. A phonetic exercise forlearning English as a foreign language it also highlights problems with the physical materialisation of language.

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Ingleby Gallery, 15 Calton Road, Edinburgh EH8 8DL

Resistance and Persistence

Rachel Whiteread, Step, 2007 – 20018, plaster, pigment, resin, wood, and metal (five units, one shelf), 14 x 40 x 20 cm

With four Giorgio Morandi paintings at its heart, ‘Resistance and Persistence’ uses adjacencies to stimulate conversations between unlikely works. Review by Joy Harris

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